At first mechanical, then microscopic, then electric and, finally, aquatic (or perhaps cosmic?), Picture Mill's artful opening sequence to Alex Proya’s 2004 adaptation of Asimov’s seminal novel is nothing if not ambiguous, presenting some of the film's core themes through abstraction and detail, sealed with a unified color palette and a fluid, single-shot camera move. This abstraction, however, is soon challenged by reality, as the audience is pulled from the dreamlike ambiance of the sequence into the film’s chaotic underwater opening.